Mode Magazine Fall/Winter 2021 by MODE Magazine

A SHOWCASE ON THE THERAPEUTIC POWER OF MUSIC Layout and Illustrations by Hailey Pryor

BY EDDIE FAN The world of indie music is a sanctuary away from the humdrum of today’s mainstream music scene. Go GHHSHU DQG \RX±OO ºQG D JHQUH NQRZQ DV bedroom pop, presently dominated (and SRSXODUL]HG E\ WKH OLNHV RI &ODLUR and Mac DeMarco. However, devout IROORZHUV RI WKH JHQUH PD\ QRW KDYH KHDUG RI D OHVVHU NQRZQ SRZHUKRXVH in the world of bedroom pop and its incredible artistry: Orchid Tapes.

In the Summer of 2020, I discovered Brooklyn-based indie record label Orchid Tapes, run by Warren Hildebrand, who makes music as Foxes in Fiction. Browsing Spotify, I came across Hildebrand’s sophomore release Ontario Gothic. Intrigued, I listened to the entire album in one sitting. It’s hard to describe why, or rather how, I was so deeply affected by the album without touching on its production, inspiration, and most significantly, the mind behind the work. I can only hope that my description of it will do the album justice. This seven-track album can be described as a beautifully ethereal bedroom-pop healing journey that delivers powerful, haunting, sunsoaked ballads about tragedy and acceptance. In an article from The Fader, Hildebrand explains that Ontario Gothic emerged from a desire to piece together some of the transformative life experiences that happened to them in the wake of their younger brother’s sudden death in 2008. Following the tragedy, they became extremely mentally ill. “In the end, I found that the only thing that made a big and lasting difference in my way of thinking was repeat listens of certain kinds of music,” says Hildebrand. “My idea of healing music is deep and soft and repetitive atmospheres that build their own selfcontained world, inviting you to lose yourself within it.” It’s this philosophy that guides Foxes in Fiction’s music production, which can be felt throughout their discography and extends to the work of the rest of Orchid Tapes’ artists.

For example, signed to Orchid Tapes is Hildebrand’s friend Aaron Powell, who releases music as Fog Lake under a genre he calls “downer pop.” “I’ve struggled with mental illness now for a very long time. Music is the most therapeutic, cathartic, and medicinal release for me,” explained Powell in a Reddit AMA. Just like Foxes in Fiction, Fog Lake aims to incorporate an element of healing in his art. “I’ve always tried to make music that can heal,” said Powell in an interview with the CBC. “I believe that there’s a healing quality to music that is kind of medicinal; if you can create a feeling that someone else feels, you can almost cancel it out.” This all goes to say that Orchid Tapes is what I believe to be bedroom pop’s most generous purveyor of music that heals the soul. Although I’ve only covered the work of two of the label’s artists, put on any record from Orchid Tapes and you’re sure to experience something profoundly healing.

BEABADOOBEE: BEABADOOBEE: THE THE Beauty Beauty of of contradiction Contradiction As a music snob, I tend to find new and niche faves in the most random of places. However, the last place I had expected to come across one was in a viral TikTok song. When “death bed (coffee for your head) ” by Powfu rose to fame in the early era of quarantine, I was intrigued by the sample it used from its featured artist, Beabadoobee. I saw this name around before and meant to check her out, but the TikTok snippet is what caught my attention and introduced me to the bubble-grunge rock star that I know and love today. Beabadoobee is a Filipino-British singer-songwriter whose art is full of contradictions. Her music is nostalgic, yet fresh; her genre is sometimes aggressive, yet her voice is angelic; her lyrics are deeply personal, yet timelessly relatable. Though she began with a bedroom-pop sound, she has come to epitomize modern grunge—fusing elements of punk and metal with indie rock. Her themes have however remained the same, touching on angst, isolation, and the desire for freedom. She puts this all on display in her 2020 debut album, Fake It Flowers, an intimate record that relates the stories of her difficult adolescence while confronting the people who caused her pain and failed to support her. As vulnerable as she gets, she manages to craft a picture of rebellion and independence—raising a middle finger to these people and living life on her own terms. This can be seen in the track “Dye It Red," a song about empowerment through relentless self expression. She sings about finally feeling comfortable with herself and that she’s never going to stop. Using her music to express the hardships she has gone through, Beabadoobee isn’t afraid to share the rawest version of herself with her listeners. In “Charlie Brown," she alludes to her experience with self-harm during her school years. She sings a rage-filled chorus, repeating the words “throw it away," declaring that she doesn't want to stay prisoner to these self-proclaimed bad habits. She recounts her experience with substance abuse in her power-ballad “Sorry,” and expresses how hard it was to watch her friends wither away once she got clean. The song's use of strings in contrast with the heavy metal guitar helps emphasize her simultaneous sorrow and agitation. No matter which way you look at it, Beabadoobee embodies our generation. She plays into the past of music with her inspirations from '90s slacker rock and the Juno soundtrack, while making it modern with her relatable lyricism and sweet pop voice. The blend of old and new, combined with her vulnerability and introspection, make Beabadoobe an emblematic voice of our time, one that you should be listening to. WRITTEN BY: AHAN DHAR LAYOUT DESIGN: RACHEL ERICKSON ILLUSTRATIONS BY: JETT NEUBACHER

Kanye’s beautiful twisted Fantasy Written BY: TereSa JacoB

Layout By: Deirdre Merritt

Illustration by: Jenna Vanston

For over the last decade, Kanye West’s unparalleled vision for culturally illusive stage design, fashion forecasting exhibition, and controversial reputation has called for a radical redesign of the music industrial complex’s safety net. Kanye has never been one to follow precedent, rather, the intellectual curator of designer runway and Hypebeast street style. West has a long and notorious record when it comes to postponing, delaying, and even canceling major costly projects in response to the stage design not quite meeting his own vision of distinctively-refined, forward-thinking aesthetics. Everytime a self-proclaimed Yeezus sets the stage for a new tour, Ye with the assistance of critically-acclaimed set designer, Es Devlin, manufacture a grander and more controversial kind of magic than ever before. Devlin is an artist who has worked with Kanye from the moment he first saw pictures of the stage set she designed with the Chapman Brothers for the British post-punk band, Wire, back in 2003. Delvin fuses music, language, and light to tell a story through stage design. Back in 2008, Delvin designed Kanye’s first world tour, A Glow in the Dark. This stage featured a glowing, dynamic sequence of colorful landscapes as well as a giant moon, a glowing-eyed monster, and even a robot. Kanye himself wore glowing sci-fi themed accessories. On stage, Kanye dressed as a spaceship pilot who was launched by a meteor storm into a deserted planet made up of dry ice, where he was lost and trying to navigate his way home. Four years later, West and Jay-Z teamed up for their Watch The Throne tour; the stage design featured massive video cubes that displayed glimpses of BBC wildlife footage of sharks, rottweilers, crows, and tigers in a void of darkness behind a backdrop of the American flag. This tour is what ultimately inspired West to launch his own design company, DONDA, which he named after his late mother. For his following tour, Yeezus, West designed a Revelations, end-of-the-world-themed tour. The stage featured a 50-foot high mountain that was occasionally wreathed in flames, and even transformed into a volcano. Additionally on the stage was an iceberg, 12 nude-nylon clad disciple dancers, a catwalk, explosions of fire, masked creatures, as well as a reincarnated Jesus, delivering a motivational Biblical sermon that the end of the world was coming. Most recently in 2016, Kanye’s Saint Pablo tour featured one of the greatest stage designs in his career to this day—a visionary light show in the midst of a floating cave suspended by a network of cables, hovering above a moshing crowd. The performative sculptures both West and Delvin meticulously design are seemingly a manifestation of Kanye’s polarized imagination: a dark, beautiful twisted fantasy one might say.

20 YEARS LATER AND WE HAVEN’T ‘LET GO’ OF AVRIL Author: Olivia Nast Illustration: Amy Lousararian Layout: StephaniE James-Leon In just months it will have already been twenty years since Avril Lavigne’s first album, Let Go, dropped in 2002. So much time has passed, yet Avril’s influence on the music industry is clearer than ever today. Her teen pop-rock sound, punk fashion, and carefree emo personality have stayed in style ever since. Avril set the trends, and so many artists have followed. Avril was always true to herself and her outfit choices said nothing less. She didn’t conform to the societal norms of the early 2000s, and she most definitely didn’t wear a little bright-colored dress and doll-like makeup like the other teenybopper artists of her time. She wore baggy pants, t-shirts, tank tops, and dark colors. This lax wardrobe is still popular today, as seen through Billie Eilish, who often wears oversized clothing, graphic tees, and messy hair while she performs. Billie’s baggy white pants and shirt on the cover of her album When We Fall Asleep Where Do We Go?, aside from color, reflect the concept of Avril’s Let Go album cover. Miley Cyrus is another who has clearly been influenced by Avril. Her overall image and most recent album Plastic Heats portray her in the same light— gritty and rough around the edges. The heavy rock undertones of Miley’s songs, mixed with a little bit of pop, mirror those of Avril’s Let Go. Even chart-topper Olivia Rodrigo’s songs can be traced back to Avril. Her hit “good 4 u” is sonically very similar to Avril’s “Sk8er Boi.” Not only do the titles use the same jargon, but the songs are both upbeat, catchy, and easy to dance to. However, they possess that same underlying intensity of the rock side of the genre. Comparably, Olivia’s “Brutal” and Avril’s “Nobody’s Fool” follow the same patterns. The verses sound a little more spoken and rappy, while the choruses have catchier melodies with a punk-rock musicality to them. So as you jam in the shower to Sour, Plastic Hearts, and Happier Than Ever, just remember that Avril walked so those arists could run. And maybe even throw it back and add “Complicated” to the queue.

OF MILEY, THE EVOLUTION OF US

THE EVOLUTION In 2010, every little girl on October 30th was wearing a blonde wig. Hannah Montana was at the height of her fame and the girl behind the facade was the envy of us all. We wanted sequined dresses, perfect pitch, and a Jonas brother on our arm. In reality, however, being Miley Cyrus wasn’t that far out of reach. Around the time of the Best of Both Worlds tour, Miley was filled with the same childish excitement that we all achieved through layered looks and foamcapped microphones. By the time she had fallen from her Disney pedestal with a “Can’t Be Tamed” cage scene, we had collected our own baggage. Some of us dabbled in drinking or drugs, while others took a note from Bangerz, sleeping with strangers to disappoint our own version of Disney: our parents. We found our freedom as Miley twerked on stage. We watched her explore her sexuality without hesitation, and through it, we discovered our own. Some of us lost ourselves for a moment. We fell in love with people who made us feel whole. We agreed to arrangements — Miley to a marriage

— until we realized that our partners wished only to change the parts of us we needed most. “Malibu” us faded as fast and it had surfaced and we responded completely to a new anthem. Midnight Sky is the new movement— the new Miley. She doesn’t feel the need to apologize for her strength or for her choices. She doesn’t belong to anyone, and neither do we. Here we are in the edgiest era of Miley yet, and it’s about time. And while we could say that is all we ever needed, Miley continues to revise her hits, climbing her way into our hearts with punk rock “7 Things” performances that bring us back to our carefree childhood days, all while reminding us of how strong we’ve become. Miley Cyrus has always been honest. She has never tried to save face or suffocate the real emotion that breathes life into her craft. We are Miley and she is us. We will never stop evolving, we can’t stop, because as we know damn well life’s a climb, but the view is great. By: Morgan Marty Layout: Emme Weisenfeld Photo: Morgan Marty & Katelyn Benzinger

Maeve’s Just a Kid Life is A

and

Nightmare

“She’s better than popular, because she’s cool. And she’s the best kind of cool, because no one in this place even knows it yet,” says Eric Effiong about classmate Maeve Wiley in season one of Netflix’s Sex Education. As she walks in through a cloud of cigarette smoke, Maeve pushes away her hair, which is in a messy blond ponytail—the ends dyed pink. She stares at Eric and his best friend, Otis, her eyes surrounded by thick black eyeliner, and scrunches up her nose and shifts her silver nose ring. She wears a black leather jacket with a fur collar, a black denim skirt, and black combat boots. Sex Education is known for many things, such as its fantastic

representation and its dauntlessness in displaying raunchy but humorously authentic content onscreen. A particularly notable aspect of the show is its use of the Hegelian dialectic regarding character tropes in teen-centered media—especially when it comes to Maeve. Maeve counters the “cool, punk girl” trope by revealing herself as another trope, the “bruiser with a soft center.” However, throughout the three seasons, Maeve proves herself to be above all tropes and shines with her authentic portrayal of a teenage girl. As the first season progresses, there is the astonishing revelation that Maeve is not an intimidating loner with no prospects, but rather a highly intelligent and literate intellectual. Her dark aesthetic

Written by Julia Maling Illustrations & Layout by Prutha Chavan simply represents her hard exterior, which she likely developed due to the constant absence of all her immediate family members: a father who left, a mother who struggles to overcome drug addiction, and a brother who can only find money on the black market. Throughout the show, the many layers of Maeve Wiley are peeled away, as shown through her love and care for her best friend, Aimee, and sister, Elsie. Maeve also has the tendency to bite her nails. Biting nails, while for some is an irreplaceable and inexplicable habit, is often a sign of nervousness and vulnerability. It can also be an involuntary response to anxiety. To portray Maeve biting her nails would be to layer opposing tropes—the punk teen and the anxious intellectual— on top of each other, which allows them to cancel out while also validating each other simply by existing. Maeve is seen in her “truest” form, however, in the third season, when all the students at their secondary secondary school are forced to wear dull gray uniforms. Besides the subtle purple streaks in her hair and her bold black eyeliner, Maeve’s punk look is completely stripped away and her character is truly exposed. By

exploring her relationships with people she really cares about, the show illustrates Maeve’s complex interactions with others and how she deals with situations far too difficult for a seventeen yearold to handle. While the hardshelled version of Maeve arguably never existed in the first place, it is still fascinating to see how she evolves throughout the show, starting out as a punk teenager and eventually becoming, well, Maeve, whatever that means to her.

MGK and Megan Fox Winning Fashion Once Again By Carson Waldron

Layout by Mikey Duffy The VMAs red carpet this fall was starstudded as ever and the clothes were nothing short of spectacular. Enter Megan Fox and Machine Gun Kelly, all eyes are on them. Megan walks down the carpet in a sparkling mesh Mugler dress, wearing nothing but a bedazzled thong underneath-wet hair draping down her figure. MGK follows shortly after in a sequined red Dolce & Gabbana suit, accompanied by pearl jewelry on his face-complementing and enhancing his chiseled features. The power couple truly encompassed grunge with their looks on this carpet, and nothing less should be expected from the rock star and icon duo. All fashion is an expression of emotions and when done well, tells a story. While grunge is usually characterized by its lazy and loose silhouette, high contrast colors/patterns, and edginess, Kelly and Fox challenge these parameters. The couple uses highly structured tailoring and a skin tight chiffon dress, taking the dark, jagged ideas and styles and giving them haute couture construction. It would be ignorant to discuss the punk aesthetic without discussing its similarities with camp. The fact that Fox and Kelly are dressed in two of the campiest designers of our time brings this connection full circle and begins to redefine what grunge is. MGK and Megan Fox are no strangers to punk however, with MGK’s rocker style dates back to early in his career, having adorned the stereotypical loose edgy clothes of the aesthetic for years, and Megan Fox is prone to the head to toe leather ensemble. Their style as a couple, has only grown and developed into the perfect modern grunge aesthetic.

Art by Hailey Pryor

Rebel Girls

WRITTEN BY: Molly Chamberlain

Layout BY: Paige Pandolfo

Heavy drums, electric guitars, and the scream of females reclaiming the grunge music scene. For years, the “grunge” genre of music has been attributed to males. Classics like Nir vana, Pearl Jam, Alice In Chains, and more all-male bands have paved the way for heavy metal and punk music, but it’s time to pay some respect and attention to the female-fronted bands shaking this music scene. Arguably one of the first all-female bands to shock the punk music genre was Bikini Kill, created by Kathleen Hanna in the 90s. The members and their followers used music to call attention to the female empowerment movement. Their most well-known song “Rebel Girl” became an anthem for this era— an ode to feminism and the lesbian perspective. The work of Bikini Kill started the infamous “riot grrrl” movement— a movement in the 90s focused on feminism and punk music, that stills lives on today through these badass female-fronted bands:

Dum Dum Girls – Formed

in 2008, this female-fron ted band has slower songs like “Com- ing Down” and “Lost Boys and Girls Club” and has covered songs like The Smiths’ “There Is A Light That Never Goes Out” with their own punk rock t wist. Pillow Queens – Outspoken Irish rock band “Pillow Queens” combines smooth vocals with strong, loud supporting drums and guitars on tracks like “HowDoILook” and “Rats.” Dream Wife – This London based trio speaks out for women and non-binary artists in the music in dustry with punk-indie songs like “Hey Heartbreaker” and “Let’s Make Out.” Through the mix of metal, punk, and loud voices that portray even louder emotions, these bands and more are carrying on the riot grrl movement and fighting gender stereotypes. There’s a grunge revival coming, and it’s going to be the girls who bring it back.

MODE x FACULTY

On October 10th, 2021, a day before I spoke with the group,

Faculty stepped into a performance at the Mercury Lounge, one of New York’s premier indie venues, which has seen the likes of The Strokes, Radiohead, Arcade Fire, and Fordham’s own Lana Del Ray. In only a matter of months since Aidan, Nilson, Hugo, and Khadija came together in the Summer of 2021, they have begun playing shows nearly every weekend across the Bronx and greater New York area. The three roommates, Aidan, Nilson, and Hugo, started the band as what they describe to be a novelty act. It wasn’t until Deej joined that they began to take it seriously. Now, Hugo says, “it feels real.” While Aidan and Deej say they identify as an “indie rock” band, Nils describes Faculty as playing “rock-n-roll.” Hugo spells out their music, not as a genre, but simply “guitar music.” They each come from different backgrounds with Deej and Hugo drawing from about a decade of musical exploration ranging from drums to electronic music production. This experience has led them to now, where they each play bass and guitar, respectively. Meanwhile, Nils transitioned from trumpet to piano and began playing guitar at the start of 2020, and Aidan only picked up the drums within the last year. Overall, each contributes to songwriting with their vocals spread across Hugo, Nils, and Deej. Their inspiration comes from an array of artists ranging from Snail Mail and Weezer to the Beatles and the Pixies. Regardless, they unanimously classify themselves as “squarely in the realm of punk,” which Hugo clarifies to be as a result “of means, technical skill, resources, and the limits” that they have.

Article & Interview By: Max Durante PhotoGRAPHY By: Max Durante & Claire Reynolds Layout By: Stephen Pastore

“Punk is an aesthetic that intends to offend and to be an affront. It’s a sensibility that is flagrant on purpose.” - Hugo This sentiment applies to a philosophy beyond their music itself. When asked if they feel any responsibility with their music, Hugo tells me that the group has no political agenda, nor any sense of responsibility. Still, he notes that “art is going to reflect the social conditions from which it arises.” He mentions one of his personal goals: just to survive and make enough money to live. Hugo tells me “it sucks” because all he wants is to play music. Obviously, if Faculty can do that, and their music can sustain them, they have achieved all they need to. Without music, Hugo says, “you need to play a bunch of stupid games to get money, but there’s already enough

stuff that we don’t need to play any of those games. There are things I would like to say, things that people would probably turn Marxist or Leftist.” Reflecting on the state of our generation, this is a place that many of us find ourselves when we shove each other across the humid pits that form in the basements and backyards of Faculty’s performances. When Deej tells me one of her goals is “playing as many live shows as possible,” a goal shared by the rest of the band, it makes sense. Each of us has our own aspirations, dreams, and hopes for our lives. However, they are so often

muted and silenced by a world where corporate entities and antiquated systems steal our passions away. As a group of twenty-somethings, we stare down the face of a society where 8 individuals hold not only half the collective wealth of the human race, but the power to fix our climate, feed the Earth’s people, and prevent global injustice. The best thing we can do is hope to exist in a way that doesn’t pry our souls away from us. We can’t feel ethical responsibility because we are barred from the means to execute change. Yet, we can’t feel exempt from it either when we are responsible for dealing with the inevitable and impending consequences. So why would we not identify with “punk,” a sensibility that intends to offend, when our world so quickly affronts, dehumanizes, and exploits us all anyways? Maybe that’s why it feels so good to watch our peers get on stage and forget about everything for a brief moment.

Hugo

Aidan

INTRODUCINg...FACULTY Deej

Nils

FOR THE LOVE OF

SHAG!

BY: NATALIA CRUZ

Style icons often rely on signature pieces such as Harris Reed and their large hats or Emma Chamberlain and her mini glasses, however recently there has been a rise in stylistic expression through hair. Now don’t go grabbing for that pair of scissors you may have used to cut bangs on yourself in third grade (we’ve all been there). The hairdo known as the shag mullet has come back for that punch of nostalgia as many y2k and ‘90s trends have been doing. With celebrities such as Miley Cyrus, Barbie Ferreira, and Zendaya sporting retro shaggy layers, this classic cut has

influenced many teens to go for a cut themselves. This hairstyle originated as part of the counterculture movement of the late ‘60s that opposed the establishment of societal norms interest in politics, as a new punk as we have seen with scene was born cultural icons of the in St. Marks past. So whether the Place in New shag cut is used as a York City. defining moment, a way Soon, the to naturally frame and wide-angled compliment your face bangs, cropped shape, or you just hair, and choppy wanna have a “stuck in sides were the ‘70s” look like adopted by classic every other person who rock icons of the owns a record player ‘70s, such as Rod and an Elton John Steward and Joan album, this style is Jett, along with coming back stronger artists like Mick than a ‘90s trend. Jagger and David Bowie A little hippie spice paving the way for never hurt anyone. gender nonconformity Something is freeing with their now about giving your hair recognizable cuts. Once a full chop, after all, the ‘80s rolled in, it’s just hair. It will the shag became more grow back. voluminous as Jennifer Aniston coined the look for her own. So why the specific ‘70s look, as opposed Photographer: Hailey Pryor to a Jennifer Aniston or Jane Fonda image? Models: Natalia Cruz, Maggie Boswell Many teens are Stylist: Melissa Brugmann resonating with the rebellious aspect Layout: Sophie Dreskin of the hairstyle and its counterculture meaning that connects with the rise of youth

N MAKEUP Article by Carson DeLasho Photographed by Gracie Davis Layout by Madison Rhoad

Makeup BY: Carson Delasho ModelS: Carson DeLasho, Caleb Rocha, Sarah Raubenheimer, And Teresa Jacob Stylist: Teresa Jacob

Kiss is one of the most influential rock bands of all time. Despite the breakups, lineup changes, and reunions over almost 50 years since their debut, one thing is certain, when you think of Kiss, you think of their iconic makeup. Formed in 1973 in New York City, original members Paul Stanley, Gene Simmons, Ace Frehley, and Peter Criss developed onstage personas as the Starchild, the Demon, the Spaceman or Space Ace, and the Catman using a base of white face paint with graphic designs. The band was inspired by comic books and horror movies and Simmons has even said that their looks were created entirely by them without help from a celebrity stylist or marketing team. Some have associated the band’s makeup with the occult because of their onstage theatrics of fire-breathing and blood-spitting. But the members decided to start wearing makeup in response to the glittery beauty scene of 1970s New York City. Being on stage was “almost a holy place for [them], like church,” so dressing up in outlandish costumes and applying makeup was their way of being true to themselves as performers. Kiss’s makeup became such an integral part of their image that in 1983 when the band “unmasked,” they received backlash from fans. The band decided to ditch the makeup so fans could get to know them more. Even though they brought it back for later reunions, not wearing makeup never changed their ability to perform unforgettable music. Kiss makeup resonates with so many fans because it was never for approval; it was a manifestation of the band members themselves. The lasting impact of Kiss makeup shows that the band became legendary because of their musical talent and their signature image. Their looks continue to act as a means of expression for fans and musical artists who have adopted makeup into their styles today. Kiss has challenged the public to be bold and take risks by incorporating graphic designs and dark colors into everyday wear. Overall, through makeup, they have broken the mold for what it means to be a rockstar, especially for men. And despite never winning a Grammy, they have without a doubt taught listeners how to Rock And Roll All Nite!

An Ode to

the Smudge

Maybe

Layout: Leigh Reid Photography: Claire Reynolds Models: Carson Waldron, Claudia Nolan, Mikey Duffy Stylist: Teresa Jacob

they’re too cool to care. Maybe that eyeliner is two days old. Whatever the truth may be, a shadowy under eye radiates the essence of grunge; rebellious and slightly disheveled, yet effortlessly cool. An unwavering smudge is an art form. The majority fight against the smudge, using powders and waterproof formulas to avoid defiling any sacred territory of the under eye. This is exemplified by the public outrage of Tiktok’s recent overture where teens used lipstick to emulate the doll-eyed, gothic Tim Burton characters. However, the exact beauty standards they challenge are the same ones that have historically pressured those with hyperpigmentation or a genetic predisposition to dark under eyes to conceal, brighten, and “correct” their natural look.

Amy Lousararian

From

the use of kohl in ancient Egypt to the smoky eyes of 1920s movie stars, the emergence of grungy eye makeup arises alongside the angsty music of the era in a natural progression of beauty trends. The bright colors of the ‘80s shift to darker shades, as seen on the runway with ‘93 Anna Sui and ‘94 Calvin Klein. The typical vampiric grunge eye hones in on a trope that I’m sure many of us recognize but don’t notice: the “excessive evil eyeshadow.” The piercing, dramatic look donned by so many villains makes apparent the connection between grunge style and turbulent levels of angst. While the rest of the face is kept quite simple, the artfully crafted disarray gestures to a deep interest in appearance without following through on visible effort. Current eye makeup trends are in many ways shifting back to these grunge era ideals, with the use of minimal concealer and bolder eye looks (thanks Euphoria!). And if the world is going to continue to prioritize productivity over sanity, don’t be afraid to let those bags really shine.

on wednesday we: a Keith Article By: Emm Photographer:Andy Meeker Models: maggie boswell, hailey prior, daniella deyoung Stylist: daniella deyoung Layout: JAckie Kobeski

Channel janis

High School is an ecosystem that makes the predators in a traditional biome wince with fear. A kingdom of hierarchy, with distinction that parallels the wild. Trophic levels and cliques are just tacit; people coexist, but there’s boundaries. This way of life is something that could only be conceptualized by high schoolers and animals...until Tina Fey and Rosalind Wiseman translated it to cinema and put it on the big screen by the title, Mean Girls. A high school satire and a comfort film, but also a glimpse into the ostracizing reality of cliques and trends. Sure, Mean Girls has taught its viewers to wear pink on Wednesdays, to carry ourselves with the confidence of Regina George, and that rumors always find their way full circle, but I think we often leave our living room couches or close out our Netflix tabs when the credits appear with a distorted view on who is the real hero of North Shore High. As far as hero archetypes go, the obvious picks may be Cady Heron, Mrs. Norbury, or even the bus that took out Regina George. Though you likely won’t be forced to delve into the depths of this 2004 teen comedy, if you do, I think you may find Janis Ians to be the silent hero. She is untainted by the toxicity of social structure, and disabides by the norm, all while remaining the hallmark of the grunge era. Grunge brought forth a sense of openness to youth. Through music, it taught people that feelings of social isolation and depression are nothing to be ashamed of, and in terms of clothing, it introduced fashion trends that disassembled the notion that people should dress in gender conforming ways. Janis Ian is both a hero and the epitome of grunge. In an abstract way, she is the savior of North Shore High in the same way that grunge was a comforting crutch to the youth during the mid 1980’s. Everyone has a little bit of Janis Ians in them. It might take some combat boots, an oversized flannel or a swipe of black eyeliner, but there’s a hero within all of us.

Surf Skate SKate Grunge Written BY: morgan salzer

Layout By: caroline gleason

Los Angeles County—land of the free, home of the stoned and grandfa ther to the 90s grunge aesthetic. But how did a place patroned by Saint Christopher, protector of surfers, generate a culture of smudged eyeliner and flannel jackets? The classic homogenization of skate and surf culture actually stemmed from the ladder’s influence on skating, creating a direct line of events which led to the popularization of the grunge aesthetic as we know it. To understand this chain reaction it is important to first delve into history. The beginning of skating is illusive to say the least. We know modern skating started around the 1950s and that it was influenced by surfing. The pioneers in this sport were seasoned surfers who used homemade skateboards made out of flat boards and clay wheels, colloquially dubbed ‘asphalt surfers’. Though this primitive form of skating is far from the commercialized sport we see in modern day, it was pivotal for the formation of skating culture as we know it. There was no Proof Lab or Santa Cruz, so those who were invested in the sport had to brave the struggles of a teacherless activity—motivated solely by the California Spirit. It was in an empty swimming pool that contemporary skateboarding flour ished. When a group of deadbeat adventure junkies, legendary skater Stacy Perlata among them, began to break into houses with empty swimming pools to use them as primitive ancestors to skateparks, popularity of the sport spread rapidly around the surfing community of Santa Moncia. Inspired by his own experiences, friend of Perlata, Frank Nasworthy created the polyurethane wheel allowing for a smoother ride and more control of the board. This made riding simple, gave the skater more control and allowed new riders to start with ease. A whole new sport was made, and thus skate culture was born. Quickly punk music and skateboarding became synonymous—the two cultures influenced the others. The anti-establishment ideals emerged from both communities, creating a highly idolized population in the eyes of those dissatisfied with “the man”. Because of this, punk and punk rock were major influencers in the formation of grunge music. And of course, at the same time of the music cultivation, the cultural convergence of the aesthetics also formed, creating the classic 90s grunge we see today.

R ebel li o n a n d Que e rne s s

A Tal e o f Frien enddship raced to finish our math problems before each other in fourth grade. Owen and I wrote sequels to Harry Potter and compared theories about the marauders. Owen and I obsessed over The Hunger Games and Star Wars together—holding our breaths at midnight showings. Owen and I took every class together freshman year of high school, and he held me in his arms as I cried after a particularly bad day. From the moment we met in Mr. Nyce’s fourth-grade class, a thread has connected our hearts—we see each other in a way that no one else really can.

But Owen and I also lied about our crushes. We kept our heads down, volunteered for readings at mass, got straight A’s, and embodied the most perfect, respectable Catholic school students there ever were. In my junior year of high school, my theology teacher Mr. Riendeau said to me,

Written By Julia Patterson Illustrations By Hailey Pryor Layout By Hannah Gaertner

“Julia, you’re just such a great student and Catholic role model. I know you are a respectable girl.”

And so thats who I made sure I was.

For so long, our personas of respectability battled with our authentic selves screaming just under the surface. At the beginning of high school, we traveled miles from our true selves and lost who we were along the way. Then Owen made the first step off the expected path. At the beginning of junior year, he hesitantly told me he had decided to transfer to public school. Sadness grew all over me in heavy, blue vines. But the sadness did not stay long. His beautiful joy and liberation, no longer caged by respectability and unacceptance, shone a powerful light on my vicious vines, pulverizing them into dust. The openness he discovered at his new school inspired me, and for the first time, I saw our similarities written in bold letters above us.

Senior year, I tacked a small rainbow pin on my backpack. I called out my theology teacher for his misogynistic comments, used pseudonyms like “pickles” with my friends to discuss the certain people (surprise surprise, not boys) that I had crushes on, and participated in other seemingly insignificant rebellions against the overbearing Catholic agenda. Those rebellions, though, were really important to me, and I believe, are meaningful for a lot of queer people. I think in our own way, Owen and I were rebelling together for years, by being our weird, nerdy selves in an environment where you are constantly told who you should be and who you can’t be, there was something so powerful about our friendship. We had each other’s backs and were there for each other in ways we did not realize we needed yet.

Under the blueish, red glow of Owen’s apartment lights. I ask him softly,

“Did you ever think I was queer too?

“Not really, because I think you put up a convincing facade and acted like our other friends pretty well.” He laughs, “At least better than I did.”

“But when you told me, everything made sense. I wasn’t surprised at all.”

Looking back now, as a sophomore in college, living, probably, the most authentically I have my entire life, I am filled with so much emotion thinking about how grateful I am for Owen. We have grown up together, and now are coming into ourselves (albeit a bit later than most people, but that’s the queer experience™). Chosen families historically have been an essential aspect of the LGTBQ+ community, and I think modern examples of this are becoming increasingly important to tell. So here’s to us, Owen. Thanks for being your weird, queer self with me.

Le Rouge et le noir: How Color Conveys

Written by Riley Kerr Photography & Layout by Prutha Chavan Models: Maddie Boone, Minh Anh Dinh, Teresa Jacob Stylist: Teresa Jacob In nature, animals wear the punk-rock and grunge make use of this colors red and color combination and symbolism. black, warning Take, for example, Stone Temple other animals Pilots’ Core, released in 1992, which to “stay away.” features their song “Naked Sunday,” For humans, this which criticizes organized religion color combination and its power imbalance. The cover tells a similar message: of Core, which portrays a distorted one of power, sex, and image of a naked woman holding a glass rebellion. When our brains orb, in front of a tree. The album process the color red, a is red a n d black, few things happen, our blood alluding levels rise, our metabolism to the is enhanced, our respiration rate b o l d increases, and our hearts speed up. This is because we tend to associate danger, and negative emotions with red, as it is the color of blood, fire, and often poisonous animals. Red grabs peoples attention, draws messages within Core’s them in, and then black songs, messages that holds them there and strikes disrupt the status quo and them with a feeling of reverence. traditional norms. Some of Throughout histories of fashion’s most iconic and music, fashion, and unrest, red disruptive trends used and black define movements. The this color duo: the little symbol of anarchy, for example, black dress and bold red is always either portrayed in lip or the Louboutin heel black or red or both. Or the are representative of the diagonally bisected red and power of Le Rouge et Le black flag representative of Noir. One does not simply anarcho-communism. A young girl put on and wear a black is told to not wear dark red nail and red outfit, one polish, “as it’s too mature,” is making a statement so she goes home and paints her of a subversion and nails red and wears black. Black nonconformity: and red are a symbol of defiance, saying, “You don’t provocation, and noncompliance. own me, my body, Almost all iconic albums of or my thoughts.”

Why Fordham’s Birth Control Policy is Problematic Written By: Grace Livecchi

Illustrated By: Jenna Vanston

Layout By: Natalie Conte

On the topic of sex, Fordham resembles a strict, ignorant parent. Everybody knows one or two of these. This parent thinks refusing to drive their teenager to a party will stop them from going, when in reality, it causes them to find a more dangerous means of getting there. Same goes for sex and contraceptives; refusing contraceptives won’t prevent sex. Suddenly this becomes a much more serious dilemma, one that Fordham students are currently faced with. Looks like Administration could learn a thing or two from a parenting class. To be clear on Fordham’s rule in regards to birth control, students may use contraceptives that they get by their own means. Only in rare circumstances will the school provide birth control to students. It is unclear what these circumstances are, or if they truly exist at all. The bottom line is that students seeking contraceptives must do so alone. Technically, this rule shouldn’t come as a surprise. After all, Catholic schools receive Catholic funding. And Catholic money means Catholic influence. Despite this, the Fordham website describes themselves as a community “that welcomes and honors all who come to us.” Quite ironically, their rules regarding birth control ignore and refuse to accommodate for different beliefs regarding premarital sex that don’t coincide with Catholic Church’s stance. The assumption that increased accessibility of birth control results in higher rates of sex is the backbone to religious schools’ rejections of contraceptives. But this isn’t true. A 2016 study in the Journal of Adolescent Health found that decreases in teen pregnancy rates were due to an “improvement in contraceptive use.” While rates of sexually active teens remained unchanged, the percentage of the use of contraceptives amongst teens rose from 78% in 2007 to 86% in 2012. This shows that access to contraceptives only prevents teens that are already having sex from becoming pregnant and have no effect on the number of sexually active teens. An anonymous senior who has been affected by Fordham’s birth control policy feels partially let down by the school and their decision. “I knew it was a Catholic school, but when I was touring they said you don’t have to be Catholic,” she said. “Once I got here, I realized they were kind of imposing a Catholic Church standard on students by not offering necessary healthcare.” In her circumstance, birth control was not a conversation she felt comfortable having with her parents. Unable to afford doctor’s visits out of pocket, the student resorted to using an online prescription service as a means of acquiring birth control. But due to the lack of proper evaluations online, she developed side effects and felt like she could’ve been matched with a more compatible prescription in person. She is hesitant to switch prescriptions, out of the fear that she will develop worse side effects, and have to navigate them alone. Living in this world as a woman is becoming increasingly scarier, especially with recent instances such as Texas’s abortion law, outlawing abortions as early as six weeks. Reproductive rights of women must be brought to the forefront, if we don’t want them to keep dropping like flies. That is why it is essential to the protection of these rights for Fordham to prescribe birth control to students who need it. Health-related needs of students must be placed above the potential threat of losing funds. It is unreasonable for Fordham to claim to support and welcome all students if they break this promise in an essential way. Live up to your word Fordham, and do what you know is right.

rags to riche $ : the ironies of luxury grunge

written by emily koch

models: Gaby Simporios, Tori Garcillano & Davis Moubry styled by: John Cugel photos & layout by: Emily Koch

A delicate, chartreuse Participants exclusively slip. A dark flannel fastened shopped second-hand andwith tightly to her waist. And a as little money as possible. thick charcoal choker hugging Grunge was a pushback on a her neck. Her combat boot’s culture becoming completely steps aren’t taking her through motivated by consumerism, yet Brooklyn looking for vinyl almost since its origins we sales, but down the runway witness luxury brands seeking at fashion week. Burberry’s out ridiculous profit from seventy-fifth look of the their look.This toxic trend Autumn 2020 collection could unfortunately shows no sign have been presented by Courtney of slowing down; platforms Love herself. Plaid may be a like Depop and Poshmark have Burberry staple, but paired created a space where sellers with clashing prints and fall subject to the same casual silk, this ensemble exploitation of second-hand bleeds grunge. It also fashion as high-end designers. bleeds of inaccessibility. The anti-capitalist advocates That little green slip who pioneered “grunge” have brought to the runway lost their claim on the over about a year ago fashion. Grunge has fallen into is selling for about the hands of wealthy designers $960 today, while the with even wealthier patrons less than overwhelming that fuel the consumerism flannel is nothing short craze. High-end grunge of $590. Regardless disregards the movement’s of how well designer purpose and epitomizes western Ricardo Tisci captured society’s obsession with the effortlessly cool profit and personal interest. nature of grunge fashion, So next time that overpriced his work, and that of flannel catches your eye, many other high fashion remind yourself of grunge’s designers, is fundamentally true counter-consumerism counterproductive towards the intentions and try to reject grunge movement. Grunge fashion the paradoxical profitization was inherently anti-fashion. of the movement.

the skinny jean subst substitute itute

Author: Anna Gaylord|Photographer: Maya Dominguez|Layout: Kelly Cimaglia Models: Olivia Faucher and Maddie Boone

Gen Z and TikTok have been telling us for months now that the once beloved skinny jean is out. All trends are bound to meet their end eventually, we need something to fill the void. We need a go-to pair of slim fitting pants that is trendy and that does not date our wardrobe back to 2015. Today’s denim trends favor loose-fitting boyfriend, mom, and wide leg styles of jeans, but some ensembles still need an informal, tight pant. The perfect pant to fill the space of our so last season or last decade skinny jeans is the leather pant (faux of course). Leather pants have the shape, stretch, and variety of the skinny jean but with a next-level chicness that make them the new crowd favorite. Leather pants do come in a variety of shapes, however to fill the spot of the skin tight pants of the past, the most direct substitute is the faux leather legging. Sometimes you just need tight pants and that’s okay! These trendy bottoms are very flexible and soft, unlike genuine leather which can often be stiff. Where jeggings, or flexible skinny jeans, gave the illusion of real denim but more comfortable; faux leather pants give the chic look of leather but in a more comfortable, cost effective, and animal-friendly way.

With pleather pants/leggings, you can play around with different colors and textures. Some pants are more matte, some shinier, there are also snakeskin textured leather pants. The trend started with mostly just black and brown leather. Now it is expanding past the neutrals to greens, grays, reds, and even blues. Have you seen the viral Aritza Wilfred Melina Pant? Those come in just about every color imaginable. Whether the shape of the leather pants are skinny or not, the pant’s variety and versatility completely fills the role of the skinny jean. Not to mention, the leather pants develop a cultivated and refined look.Skinny jeans on the other hand are far more casual. If you do not yet have your pair of faux leather pants or leggings, grab them before they go out of style. Who knows, in a few years we might be searching for the leather pants substitute.

BY QUINN FANTOZZI Fashion has always been a powerful tool in activism. We have seen examples of this with almost every major movement - feminism, environmental concerns, and LGBTQ+ rights, just to name a few. Celebrities and activists have been using fashion to raise awareness for quite some time. In our current society, fashionable activism is an especially hot topic, as demonstrated by the 2021 Met Gala on September 13th where many celebrities took advantage of the theme, “In America: A Lexicon of Fashion”, to call out institutions and social issues. Among the most popular Met Gala looks was Representative Alexandria OcasioCortez’s “Tax the Rich” Brother Vellies’ dress designed by Aurora James. The discourse around this dress made headlines, and debates ensued about whether it was performative and hypocritical. As AOC tweeted, “The medium is in the message.” Another powerful Met Gala look was presented by Nikkie de Jager (“NikkieTutorials”), who honored Marsha P. Johnson, an American transgender activist. Fashion statements are bound to capture people’s attention and begin discussions and that is often the intention of these designs. However, there is a more disturbing side to these statements as well. While activism in fashion may be seen as a positive, modern way to get important messages across to certain audiences, sometimes the

PHOTOGRAPHER: Justina Brandt MODELS: stephanie lanE, maggie boswell STYLIST: gil roberts LAYOUT: ALEXA STEGMULLER

messages can get misconstrued by the medium, causing controversy and debate. Designers and companies may create pieces with certain statements solely to earn a profit, capitalizing off of the struggles of marginalized groups. This, obviously, can take away from the overall message and can cause more harm than good for these ideas. However, this is in no way to say that all designers have malicious intentions with their pieces. Many of them promote positive messages in positive, respectful, and meaningful ways. For example, Chloè, a French designer brand, created a collection to support UNICEF. They created an initiative to support gender equality and to uplift women called Girls Forward, and 100% of the proceeds made from the collection went directly to UNICEF. There are many other instances of designers, big and small alike, promoting positivity and attempting to be a part of the solution, whether it be through donations or by simply raising awareness. This became increasingly evident during the pandemic and periods of social unrest. Despite the more sinister side of this debate, it is evident that fashion will always have an impact on social statements and a role in activism. There are pros, cons, and ethical questions involved, but no one can deny that fashion certainly sends a message and attracts people’s attention.

Whose Tiffany’s Is It? Article By: Erika Tulfo Photographer: Wesley Scott Layout By: Alexandra Nash Model: Daniella DeYoung

It’s out with the old and in with the new at Tiffany & Co. The iconic jewelry company has done away with the trademark heart pendants, charm bracelets, and barely-there beads that have come to define its brand in its controversially titled ad campaign “Not Your Mother’s Tiffany.”

Maybe it had been Tiffany’s intention to launch a deliberately charged campaign to bring its jewelry to the fore of the fashion world once again. Perhaps it wanted to rekindle the popularity it enjoyed during the Audrey Hepburn era or the “it girl”-dominated early 2000s. But fashion shouldn’t serve to divide. In an age that campaigns inclusivity and advocates for the demolition of social Replacing the classic lineup are constructs, “Not Your Mother’s Tiffany” chunkier chains, conversation-starting pits generations against each other, and cuffs, and baubles reminiscent of in appealing to one, alienates the other. construction-site wrecking balls — a far cry from the romance the Since opening in 1837, Tiffany’s has been brand has marketed itself on until founded on the values of legacy, tradirecently. Absent from the posters tion, and an enduring commitment to the are the fairytale couples and beaming classics. With each piece comes a story brides-to-be, and in their place are meant to be passed down from one generlone women who level their gazes — ation to the next. This history doesn’t self-assured and challenging — onto mean the brand should abandon all atpassersby. Perhaps most shockingly, tempts at connecting with younger buyers; as one luxury fashion forum commenter however, it shouldn’t be so quick to shed points out, there is “not a speck of its own identity and diminish its origins. Tiffany Blue to be found.” The campaign, which was unveiled in July 2021, was met with more criticism than praise, earning backlash from netizens who decried the slogan as insulting and divisive. In its attempt to attract younger consumers, Tiffany’s risked severing ties with an already-loyal customer base comprised of the older generation.

Maintaining both a respect for heritage and a receptiveness to change is a tricky balancing act, but one that fashion companies owe to their buyers no less. And while chains and cuffs are by no means unwelcome to the jewelry scene, their time in the limelight shouldn’t leave charm bracelets and heritage necklaces gathering dust in the dark.

Gatekeeping Grunge

Article By: Nina Carbone & Caleb Rocha Layout By: Tori Garcillano Photographer: Conor Cary Models: Nina Carbone, Caleb Rocha, Will Johnston Stylist: John Cugel

Grunge is not an aesthetic. Rather, grunge is a mentality that yields the aesthetic. It need not be dark clothing with chains and rips, but rather a spirit with which the wearer dresses. The era of grunge was defined by rebellion. Kids of the 90s longed to push back against the cultural norms defined by the previous generations. Oversized band shirts and old baggy jeans were simply a byproduct of this attitude, not the definition of the movement itself. At surface level, grunge seems to be a welcoming, supportive movement that would hold water in today's social climate. But even in such a movement, there is a tendency towards narrowmindedness. “Some of you almost got it. But the rest of you... Go f*ck yourself, you will never get it.” This is a direct quote from an Urban Dictionary definition of grunge—the same definition that claimed At its core, the grunge movement is about individuality grunge is about “not giving a f*cking sh*t.” This inconsistency begs the question: If you say grunge is and expression, which is why gatekeeping the aesthetic is selfabout a lack of care, why do you care so much about defeating and hypocritical. Those who claim grunge to be about grime and 90s bands are missing the point of all of the music and how others interpret it? culture that they hold so dear. By adopting the grunge aesthetic superficially, they are failing to honor the code of the grungeheads before them. The truth of grunge lies in self expression, so by copying the style of 90s artists and imposing strict rules for those who maintain a grunge aesthetic, modern “grunge” defeats the mission of artists like Kurt Cobain, who lived to please no one but himself. Gatekeeping grunge is an oxymoron—grunge is quite literally defined by pushing back against gatekeeping and rule following.

The essence of grunge can be understood by the vast majority of students on a college campus, not unlike our own. We’re willing to bet that you have worn things here that you might have avoided back home. This is grunge as much as someone who grew up on flannels, chains, and Black Hole Sun. So, welcome to our grunge, a set of ideas that promotes living as freely as kids in the 90s...we’re happy to have you.

Is Savage x Fenty The New Victoria’s Secret?

Written By: Tori Broadbent Layout By: Christina Boniello Photos By: Mia Pollack Stylist: Jackie Kobeski Models; Tori Broadbent, Carson Waldron, Alexandra Nash

d oo w t es W e n ien iv Dame V

Written by: Sarah Raubenheimer

Models: Mikey Duffy, Sarah Raubenheimer, Paige Pandolfo, and Kathryn Labagh Photos by: Nicoleta Papavasilakis Styled by: Sarah Raubenheimer You may know the name “Vivienne Westwood’’ from the pearl necklace everyone seems to own, but the designer has a far more complex and integral part in fashion history. Westwood’s early career was as a school teacher, but she designed and sold her own jewelry on the side. She even designed her own wedding dress for her marriage to Benjamin Westwood, but the two would split years later. Westwood’s career took off when she met Malcolm McLaren, future manager of The Sex Pistols and The New York Dolls. Westwood brought her alternative punk style to a boutique she and McLaren owned on King’s road, London. She took inspiration from the rebellious disgruntled youth of London who hated the clean polished look of the sixties. Her designs grew in popularity as the iconic Sex Pistols began to wear their pieces on stage. McLearn and Westwood changed the store on King’s Road name to SEX which was displayed in hot pink giant rubber letters. The store was a rebellion against retail itself, the windows were completely opaque so the customer had to enter the store to know what a store called SEX actually sold. Once inside, the customer was greeted by the punk legend JORDAN in full bondage, pink rubber walls to replicate a womb, burnt t-shirts, and tight latex outfits. SEX evolved from being just a store to becoming a destination for lovers of latex and hair dye. to celebrate the Queen’s silver jubilee in 1977, the Sex Pistols wrote “God Save The Queen” (featured on Westwood’s iconic shirt in the MET) which topped the charts signifying the Punk take over. The final remodeling of SEX mimicked Dresden post World War II (a city in ruble) and Westwood fully embraced BDSM and fetishism, still a vital part of her designs today. Westwood still remains a fashion icon being credited with the slogan printed shirt, the platform shoe, unisex clothing, and the newest craze lingerie as outerwear. She has not let the “commercialization” of her designs stop her from rebellion, though, showing up to Buckingham palace with no underwear when she was awarded the title of “Dame.”

A polka dot top with black and white striped pants, no longer a questionable look because mixing patterns have made their comeback into conventional style; in the 1920s, patterns evolved into US fashion. The patterns were simple, muted, and only played with at most two colors. Through the years, patterns became more intricate, and in the 1990s, people began to mismatch. The idea of mismatching patterns was inspired by the style icons of the grunge era, Kurt Cobain of Nirvana and Courtney Love of Hole. Through mismatching patterns, they created an effortlessly edgy look that has continuously evolved into fashion today. The themes that mismatching patterns showcased in the 1990s are similar yet different than in 2021. In the 1990s, pattern mixing was only worn to execute the rock, punk grunge style. While, in 2021, pattern mixing brought out the joy that was kept inside for so long due to the pandemic. Many contemporary factors such as the upcycling wagon and the COVID lockdown play a role in Author: Patricia Tota bringing Photographer: Lauren Cassot wearing back the mismatching trend. After loungewear for a year, people are Models: Licha Gonzalez, motivated to socialize and dress up. Jacqueline Moran, Keagan Van Noten, the designer of Dries Van Noten, manifested the joy of being in social Ostop gatherings through playing with colors and Stylist: Grace Livecchi patterns for this year’s spring collection. Layout: Gracie Kunik His runway looks were very playful yet effortless, similar to the energy that the grunge looks gave off. Likewise, Rave Review by Schuck’s spring 2022 ready-to-wear collection displayed a series of patterns on pattern and mismatching. Like the grunge era, Schuck found inspiration for his collection from rave, punk music scenes. Grunge fashion has been the underlying inspiration throughout fashion week, with Rate Review just being one of them. Shuck’s mismatching of patterns also stemmed from trends with thrifting and upcycling. He wanted to showcase that without even knowing it, one can style their present wardrobe in so many ways and pair pieces of clothing that did not go well together before. With influence from this year’s runway shows and the comeback of grunge fashion, people have begun to mismatch to showcase that effortless upcycled look, especially after being stuck at home. Through mismatching patterns, people can still look good, stay comfy, and use what’s in their wardrobe to create a fashionable outfit.